While tattooing Fake skin as explained in the previous post, other exercises where conducted also. The days as an apprentice at the studio tend to be organised so that Fridays involve drawing, and Saturdays tattooing. The following exercises have been conducted as part of the 'drawing days'.

Colour PackingThe imagery shown is part of a task set with the purpose of gaining understanding and technique with what is known in tattooing as ‘colour packing’. Colour packing is the term giving to the process of inserting pigment into the skin to saturate the surface area with ink so that there is no negative space showing through.

The task was to draw a few pages of small squares, and colour them in using a tight circular motion repeatedly until they became fully saturated. The purpose of the task was the process - the motion created with the coloured pencil is transferable to a tattoo machine. When saturating an area using colour pencil, the stroke may be back and forth, however when tattooing, this motion would cause damage to the skin. This could result in discomfort for the person being tattooed, and more damage than necessary to the surface, thus a lower quality tattoo as a result.

It was initially difficult to achieve much tone on the paper, due to the quality of the lead of the pencil. After changing to a higher quality pencil, the effectiveness was increased, and gradations where then able to be explored through repeating the cir- cular motion on some areas of the square more than others. Though the conventional method with traditional media would have been to pres harder to increase pigment, in tattooing gradation would be created by attempting to keep a consistent pressure but working faster for areas intended to be lighter.​The reason less ink is inserted into the skin is because the machine is repeatedly moving the needle up and down in relation to amount of volts that are running through it (controllable by the power supply). A faster hand motion means that less ink is inserted into the skin, thus a gradation of tone may occur. This was considered and replicated when completing this exercise, with gradation created by a faster moving hand rather than applied pressure.

ScriptThe imagery shown here is a sample of the practical research produced as part of a task set in order to gain knowledge on how to create script and lettering. Script and lettering is common subject matter within tattooing, however many tattooists will use a computer generated font and simply make a transfer from the printed word. This form of lettering tattoo is often completed by the most junior member of the team, as it is often understood as the least desirable to tattoo and least artistically challenging. Tattooing script is almost seen as a right of passage into a tattooing career.

As Triplesix Studios are an establishment with a range of artists with a variety of specialisms, a number of artists approach script with a sense of pride and importance comparable to that of a calligrapher or sign writer. As my position within the studio is that of an apprentice, it is understood that I will be executing many of the lettering tattoo’s in the early stages of my career. My mentors set me the task of drawing script manually is order to provide me with the tools needed to create script that adhered to the standards of design that is prominent within the studio.

The process was broken down into steps by one of the artists, Dan Hartley. Two parallel straight lines where drawn, with a gap of approximately 2 inches. 2 lines where then drawn above and below, with a gap around 50% of the size. The lines acted as structural frameworks for the lettering, with the original lines as the prima- ry guidelines. Small slanted ovals where then drawn within the primary lines, which would act as the basis for lower-case letters. Larger ovals that reached the top of the secondary line and bottom of the primary lines where drawn as the basis for capital letters. These guidelines could take whatever shape necessary to accommodate for the area that would be hypothetically tattooed upon.

It was advised to approach each letter as a shape, and ‘draw’ the script, rather than write it. It was suggested to begin with the stem of letters (such as ‘b’ and ‘p’) that fit within the guidelines, to keep the remainder of the letter shapes consistent in size, as they would be produced inside the ovals. Letters such as ‘y’ where kept consistent throughout the use of bottom guidelines, though it was pointed out that the guides should not dictate the visual, but inform. Once a word had been drawn, more decorative elements could be added and to strengthen the visual elements of piece and make it more conventionally interesting as a tattoo. The image included that depicts orange pencil is a scan of the demonstration produced by Dan, with the remaining images showing a number of my attempts. The larger image also depicts the beginning of my attempted adaptation of calligraphy into ‘tattoo-able’ lettering, referencing the work of Manny Ling as a basis of exploration.

The task gave me an insight into the process of production of script, allowing for skills development that would make a traditionally undesirable task engaging as a designer.

Adam McDade

Illustrator, Tattoo Apprentice, and PhD Research Student

​Having completed my scroll exercise, my day to day tasks as an apprentice continued, including desk work and shadowing. During this period, I learned to feel comfortable in my environment through familiarity with procedures such as talking to customers about tattoo designs, assisting with customer/artist consultation, and booking the customer in on the calendar with a deposit.

These procedures have taught and continue to teach me what the possibilities are in tattooing in regards to cover-ups (tattooing over an existing tattoo design with something completely new), reworks (essentially, collaboration with other artists tend to be unaware they are part of a collaboration, and who have created a tattoo that is not of a suitable quality so requires a more accomplished artist to edit the piece), and matching client ideas to artists realisations, including any aesthetic negotiations that may be necessary to ensure the best piece possible. Part of desk work is a good understanding of artist to client suitability, and ensuring that what the client hopes for is possible by consultation with the artist. My understanding of what is possible independent of secondary input has naturally increased and assumingly will continue to do so – an essential skill for when I come to tattooing in the future.

A particular observation I had made while working on the desk was that often clients are rather vague on what it is that they would like to have tattooed, and may ask for examples of artwork to view and choose from – this perspective has its roots in traditional tattoo street shops but is not the procedure in custom tattoo shops in which each client is assured an original design. Some clients may request subject matter that conforms with current trends (e.g. Greek mythology, pocket watches, mandalas), and there are many requests for the names or portraits of loved ones.

While there is of course a place for such subject matter, my inclination is that the client may either want a tattoo that is simply executed well, while allocating them to a particular subculture or tribe to which they feel identified (often the tattoo may feel like an appropriate expansion of how the client has chosen to present their identity in regards to their appearance and demeanour), or that they hope to recognise the significance of another being to their personal identity using a method which is apparent, visible to all, and permanent.

If the design choices requested by clients can be categorised to such motivations, which through a brief and light discussion, I believe they can – then it may be fair to assume that there could perhaps be stronger methods of visually communicating such ideas than what has been requested.

Coming from a design background, my methods of working with a client have always been to understand what the client hopes to communicate in the imagery through discussion, and to formulate an output which manifests their vision. An integral part of the process in my own methods is in the realisation of what started as an abstraction set out in the brief. Most of the briefs have come about through organisations/companies that are well versed in art direction – in tattooing however, the client isn’t always necessarily of a creative mind-set. My belief is that tattooing is essentially another form of design, and part of being a strong designer is the non material process of creative problem solving, in addition to craftsmanship.

While tattooing has become increasingly visually impressive and the standards of craftsmanship continue to rise, works of a less creatively stimulating nature tends to just be honoured as part of the industry standard, and perhaps acts as the ‘bread and butter’ between more stimulating work for many artists. As previously stated, though this is a worthy and legitimate practice which will always have a place (some clients are set and happy with their ideas), it could also be possible that there are alternative ways to understand what it is that some of the clients are motivated by to get the tattoo and as a designer, to assist in fully realising their vision.

There are a host of methods to apply such thinking that may be applicable, but the core of the idea is to understand the client intent and offer something outside of what is commonplace and appears to be culturally normative. While my PhD research will be of a practice based nature, it is important to understand what formally conducted academic research into tattooing from a social sciences perspective has been conducted to combine with my empirical understanding of individual motivations for design choices, in order to offer any practical solutions to potential areas that may benefit from investigation.

At the time of writing (September 2017) one conceived potential method may simply be a more in depth client consultation than traditional (perhaps ‘conversation’ would be a more appropriate term). The actual tattooing process is very tactile and thus requires a lowering of defences and physical intimacy between both the tattooist and client. Spending a little more time discussing ideas with a client may introduce more of a participatory feel to the process, and thus increase the output of the tattoo, experience for those involved, and ultimately, the financial gain of the studio.

An example scenario may be that a 35-year-old father wants the name of his 6-year-old daughter tattooed onto his forearm in script. The request can be broken down to the stage before the idea has been formulated into abstract ideas, which might be that the client wants 1/ a tattoo to express his love for his daughter and 2/ an aesthetic of formality through what might be considered a conservative font. From these ideas and through conversation of the significance that his daughter made to his life, her personality, particular memories etc. ideas for visuals may then be generated. He may have a memory of being on holiday in Lanzarote where he was swimming in the sea and felt a strong connection to his daughter, and the design may be two sets of swim fins and snorkels emerging from splashing water, with a mountainous background indicative of volcanoes. Equally, the tattoo may well be in script, but it could be in the handwriting of his daughter, and above his heart – making it a more personal expression of the intimacy of their relationship.

Though the above example is of a very superficial and mind-to-screen example of potential implications of the application of design methodologies applied to tattooing, it serves as a starting point from which I am able to consider alternative ways of demonstrating my ideas better. As I continue my apprenticeship I hope to conduct some first hand data gathering of client requests and what imagery they show to communicate their desired visual style of tattooing, in order to better understand how I may conduct my practical research.

​After my initial exercise in tonal values through the drawing of Frankensteins monster, my normal tasks resumed in the studio – mainly cleaning booths, sourcing supplies, and shadowing artists while asking questions. It has been brought to my attention multiple times that the way in which my apprenticeship was panning out was unconventional, in that I wasn’t being subject to insulting behaviour from my peers (at least not on a particularly harsh level). They would often give me examples of occasions during their apprenticeships where they had been asked to do unreasonable things, such as wash the boss’s car or do other entirely unrelated tasks to their education, and often be humiliated in the process.

At Triplesix it is clear that they have my best interest at heart, and although I am subject to some condescending comments and unpleasant behaviour, it is always meant in good fun, and offered as a side dish to an array of helpful and constructive advice. I’ve learned how to react to innuendos, and to recognise when jokes have been set up to which I am the punch line, meeting them in good humour (and occasionally respond accordingly, depending on my gauge of how sore the sting might be, and if it will be met at the level that can be still considered humorous!).

Part of what I’ve learned after working in the industry now for 3 and a half months is that tattooists are often sensitive beings who struggle with acceptance of social norms and cultural programming, and so react accordingly with jokes that might be considered politically incorrect, or other symbols of non-conformist lifestyle. While I initially struggled and felt that I might come across too serious (my experience of learning new skills has always been from an academic perspective, which is very much taught in a comparatively formal way) I realised that I shared more commonalities with my peers than any other group of individuals I had worked with with any other context. While my sensitivity is expressed through what might be considered ‘radical honesty’ (i.e being uncomfortably open about my insecurities, fears and flaws), others I work with express it and navigate their way through in with humour or lifestyle. There are multiple artists all with their own nuances, and it seems apparent that there is a common wave of something shared between them all – I believe I am also riding on that same wave, in some form or another.

My next drawing task was to sit and draw scrolls or banners, that are common subject in traditional or ‘old school’ tattooing. The task was set so that I began without any advice as to how to approach it, to demonstrate how it was incorrect and compare to an improved version that would be produced after being given some advice. When I sat down to begin, one of the artists came over to show me an example of possible ways to approach the task, which I then attempted, however we where both unaware that I was meant to perform the task incorrectly the first time.

When Bez, the studio founder, saw how I was approaching it, he commented that I was ‘supposed to do it wrong the first time so I can see how to do it right the second time’. Fortunately, I had still managed to do it incorrectly (which of course was pointed out with light hearted enthusiasm) and then shown how to perform it correctly after wards. The process involved creating a long horizontal curved line, and then mirroring with a second line underneath the first, and making sense of where vertical lines might then be placed to create the illusion or a wrapping scroll. Once this had been practised multiple times, I would then be able to consider the material of the scroll and how it might flow around the object that it was wrapping, and where the light might hit and affect the banner.

After multiple attempts met with insecurity in my ability to comprehend my approach, and anxiety that others would be able to observe my poor results, I began to recognise progress and logic to what I was putting on paper. What I was producing was starting to resemble what it was aimed to resemble, though despite looking correct I was struggling to be able to forecast the output prior to putting pencil on paper. After a few attempts I did begin to be able to plan the placement, flow, and texture of the scroll without needing to just figure it out as I went on, and my pages began to look intentional rather than exploratory.

Though the illustrative work I create may not necessarily utilise scrolls, the principles are certainly relevant to any elements of work that utilise flow, which is something I try to incorporate in my compositions often. It was additionally pointed out to me that the way in which I draw for myself will be very different how I might draw for a tattoo, as it wouldn’t be practical to spend 12 hours drawing for a 3-hour tattoo. The task was set in the understanding that in the early years of my career I would be largely doing ‘walk-in’ tattoos (names, symbols, small designs etc.), so wouldn’t necessarily have much more than 20 minutes to draw for such designs.

Though only a technical exercise that was conducted to allow me to approach my work with greater versatility, it also served as a demonstration into how a conventional tattoo brief may be instigated (i.e. the client want’s a name in a scroll that wraps around an image of ‘x’). Below are demonstrations of my attempts at the the exercises, in which my progress appears to be noticeable through practice.

While my PhD research (beginning in October) will serve to explore how multidisciplinary and cross-cultural influences can enrich contemporary tattooing, it is important to understand and recognise the traditions that are already in place in order to promote their artistic evolution. Exercises of such a nature are integral to the foundations of traditional tattooing, and contemporary approaches are rooted in the expansion of traditional foundations.

notice the 'try harder' message left for me in my absence by one of my peers!

A selection of many sheets of scroll practice

Adam McDade

Illustrator, Tattoo Apprentice, and PhD Research Student.

Beyond the Epidermis

​Adam McDade

A document of my experience working as an apprentice Tattoo Artist at Triplesix Studios, while also serving as a platform for my AHRC NPIF funded research as a PhD student at the University of Sunderland.